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HON 371 the World of Fellini's Cinema Spring 2014

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HON 371 the World of Fellini's Cinema Spring 2014 !1 CHAPMAN UNIVERSITY University Honors Program One University Drive Orange, CA! 92866 ! HON 371 The World of Fellini’s Cinema Spring! 2014 ! COURSE SYLLABUS ! ! !2 ! Description and Objectives Catalog Description: Prerequisite: acceptance to the University Honors Program, or consent of instructor. This course investigates the work of the Italian filmmaker Federico Fellini, including both the aesthetic innovations of his films and the cultural and philosophic context ! surrounding them. (Offered as needed.) 3 credits. Course Learning Outcomes: Upon completing this course students will be able to: • discuss and research the various influences on and roots of Fellini’s films and creativity (including, but not limited to, Italian folklore and popular culture, psychoanalysis, the occult, fascism, neorealism, existentialism, Catholicism, literary and visual sources); • analyze Fellini’s films as well as other primary texts such as screenplays and diaries, identifying aesthetic innovations as well as specific cultural, artistic, and philosophic dynamics at play; • present and discuss arguments, creative work, and complex issues in writing and public speaking; • explore complex issues related to spirituality, creativity, and identity through journaling and class discussion; • and collaborate with classmates in conceptualizing, planning, and creating a filmic product relating to on overarching understanding of Fellini’s work. Honors Program Learning Outcomes: Upon completing a course in the University Honors Program students will have: a. Obtained a starting point for integrative exploration of the development of cultures and intellectual achievements through a variety of disciplinary and interdisciplinary perspectives; b. Sharpened their ability to critically analyze and synthesize a broad range of knowledge through the study of primary texts and through engagement in active learning with fellow students, faculty, and texts (broadly understood); c. Understood how to apply more integrative and interdisciplinary forms of understanding in the advancement of knowledge and in addressing complex challenges shaping the world; !d. Developed effective communication skills. Content: • Evolution of Fellini’s cinematic career. • Artistic influences on Fellini’s films (street art, comics, literature, visual arts, and popular cinema). • Philosophic influences on Fellini’s films (psychoanalysis, existentialism, Catholicism, and the occult). • Relationship of Fellini’s films to neorealism. • The philosophic and aesthetic ramifications of Fellini’s creative practices (the dream book, collaboration, and improvisation). !3 • Commentary and representation of Italian identity and social changes in modern Italy as represented in Fellini’s films (fascism, Hollywood by the Tiber, paparazzi, anthropological transformations after the Boom, terrorism, Berlusconi’s TV, and advertisement culture). • The myth of the woman in Fellini’s films (the Great Mediterranean Mother, ! feminist perspectives, and psychoanalysis). Current Required Texts: • Kezich, Tullio. Federico Fellini: His Life and Work. New York: Faber and Faber, 2006. Print. • Fellini, Federico, Dino Buzzati, Brunello Rondi, Bernardino Zapponi, and Marcus Perryman. The Journey of G. Mastorna: The Film Fellini Didn't ! Make. 2013. Print. Other texts provided by the instructor • A number of critical essays exemplifying various theoretical and ideological perspectives. • Short stories, poems, correspondence, and testimonies by Fellini and his collaborators. ! • The most significant of the full-feature and short films directed by Fellini. Instructional strategies: • The lessons will build on the student’s own understanding of assigned readings and screenings, and their research of and creative engagement with the subject matter, and present contextual background and interpretative ! models through interactive and multi-media lectures. ! Methods of !Evaluation Participation A student receives an outstanding participation grade (A) when he or she: is on time, brings readings and necessary materials to class, avoids distractive use of technology, contributes regularly and in an informed manner to the class discussions, successfully collaborates with others, participates in all class activities, manifests professional !behavior (also in email exchanges), and helps others to do all of the above. Screenings Students are responsible to screen the films listed in the syllabus in preparation for class. They are required to complete a guided reflection sheet for a number of films screened. This activity trains the student in various types of film and textual analysis. While the activity prepares the students for class discussion, it is also a way to record ideas and details that can extend to other class projects. Screenings in the library: Students can watch DVDs on reserve directly in the library. There are six media rooms that can be used for this purpose. It is highly recommended that students create a room booking !4 account and reserve a room in advance, as they can fill up quite quickly. This can done !here: http://www1.chapman.edu/library/info/roombooking.html Class Discussions Led During the semester, each student will guide 2 class discussions (about 10 minutes each). One of the presentations must focus on scholarly articles assigned as class homework on that day, while the other presentation can be on a secondary text related to the class (such as a film, novel, or other cultural artifact inspired by or related to Fellini). This activity gives students an opportunity to lead group work and practice presentation and analytic !skills. Students must select an essay from the syllabus by week V (first come first serve). Critical Essays During the semester students will design and write 3 critical essays focusing on one or more of Fellini’s films, and engage in dialogue with at least 3 related scholarly sources (such as: scholarly articles, book chapters, books). While the essays are a self-directed assignment, students are encouraged to meet with the professor to discuss their structure and thesis ahead of time. Format: 3-4 pages each, Times 12, double-spaced, MLA style. !The first essay can be rewritten for an improved grade. Exam This exam is designed to test students’ familiarity with all readings, screenings, lectures, and discussions. The format consists of true/false, multiple-choice, identification !questions, and short essay questions. The final exam is cumulative. Final Research Essay In consultation with the professor, students will choose one of their shorter critical essays and develop it in a longer and more in-depth research paper. Format: 10-15 pages, Times 12, double-spaced, MLA style. The ideal essay will point to an original contribution to the film either by introducing new sources, proposing an innovative method, or !presenting an original perspective on Fellini. The Mastorna Project The last phase of the semester will be dedicated to the analysis of Fellini’s unrealized and monumental film project The Voyage of G. Mastorna, which has been often referred to as the most famous unrealized film in the history of cinema. Students will form groups and examine the screenplay, the director’s notes, and subsidiary materials, and collaborate in the creation of a 5-10 minute video containing a scene of the film. The video shall reflect the group’s understanding of Fellini’s cinematographic style, and will be screened and discussed at the end of the semester. The project is organized in various phases, entailing the awarding of points both individually and collectively. A specific handout will be !provided. Pop quizzes Failing to diligently complete screening and readings assignments will severely impact the grade received for participation, forms, discussions, essays, and other assignments. In !5 addition, if necessary, the professor reserves the right to institute a regiment of surprise !quizzes and modify the grade distribution accordingly. Grade Breakdown1 10%: Participation 16%: Screening Sheets (16) 10%: Class discussion led (2) 24%: Critical essays (3) 20%: Research paper 2%: abstract 3%: progress class report 15%: paper 20%: Mastorna Project 1%: teamwork scoring rubrics (individual) 2%: production schedule (collective) 3%: story board (collective) 7%: critical reflection (individual) 7%: video (collective) ! ! SCHEDULE (Please refer to the online version of the syllabus, as it is subject! to change) ! FEBRUARY WEEK I – THE BEGINNINGS: FELLINI’S CULTURAL AND AESTHETIC ROOTS Tuesday, 4. Readings: Bondanella, The Cinema of Federico Fellini, ch. 1 (3-29). Thursday, 6. Readings: Happy Country (unrealized screenplay) ! WEEK II – FELLINI’S CHOICE OF REALITY Tuesday, 11. Readings: Bondanella, The Cinema of Federico Fellini, ch. 2 (30-67) Screening: The Miracle (dir. Rossellini, 1948) Thursday, 13. Readings: Kezich, ch. 15. Risset, “The White Sheik: The Annunciation Made to Federico”. Picchetti, “When in Rome Do As the Romans Do? Federico Fellini’s Problematization of Femininity.” ! Screening: The White Sheik #1 A 100-94; A- 93-90; B+ 89-87; B 86-84; B- 83-80; C+ 79-77; C 76-74; C- 73-70; D+ 69-67; D 66-64; D- 63-60; F 59-0 !6 WEEK III – THE QUESTION OF FELLINI’S IDEOLOGY I Tuesday, 18. *Guest lecturer: Valentino Misino, “The Case Study of Fellini’s Commercials” Readings/screenings: tba Thursday, 20. Readings: Kezich, ch. 16. Baranki, “Antithesis in Fellini’s I vitelloni”. Screening: I Vitelloni Critical essay #1 WEEK IV – THE QUESTION OF FELLINI’S IDEOLOGY II Tuesday, 25. Readings: Kezich, ch. 18. Bazin, “La strada.” Fellini-Rondi,
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